"Xenofeminism is gender-abolitionist...Let a hundred sexes bloom! ...[And, let's] construct a society where traits currently assembled under the rubric of gender, no longer furnish a grid for the asymmetric operation of power… You're not exploited or oppressed because you are a wage labourer or poor; you are a labourer or poor because you are exploited..."

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"In Webcam Venus, we asked online sexcam performers to replicate iconic works of art. This piece is an experimental homage to both fine art and the lowbrow internet phenomenon of cams. Sexcams use webcams and chat interfaces to connect amateur adult performers with an audience. Users log on to see men, women, transsexuals, couples and groups broadcast their bodies and sexuality live for the public, often performing for money. To create this experiment in high and low brow media, we assumed anonymous handles and spent a few hours each day for a month asking performers: 'Would you like to pose for me?'

What is beauty today? By operating in the language of sexcams, we alter the contemporary ideal of beauty with the ubiquitous display of sexuality online. We challenge the institutions which enforce false perceptions of propriety—via nudity in classical painting—as the only form of acceptable safe-for-work beauty. Publicly presented traditional paintings and sculptures are prevalent with sexuality and gender politics, and yet the display of nudity online is usually defined as 'pornography'. Amateur adult broadcasters also resist the popular, contemporary definition of beauty. They are not the typical definition of beauty prevalent main stream media: heavily Photoshopped image in the name of advertising, which destroys self image and confidence while encouraging materialism. Sexcam performers are the apotheosis of the most honest parts of us and yet typically the least valued part of a society. Even though they are transmitted virtually, they are real people and they are beautiful."

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"Scary Gorgeous and it's about the pressure on young women to appear sexually available and post provocative pictures of themselves on the web, and also about how sexual relationships are damaged when our imaginations become colonised by pornographic images."

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"Events unfold differently if a camera is trained on them. In Level Five (1996) [Chris] Marker includes two examples of such influence. In one of the clips from Okinawa a woman runs across a field toward a precipice from which her compatriots are leaping. A close examination of the clip reveals that she momentarily hesitates and begins to turn back. Yet the woman recovers her resolve upon meeting the camera eye and takes the plunge. Marker then shows the same clip again, only this time he superimposes onto it images taken in 1900 from the first floor of the Eiffel Tower, where an inventor demonstrates a new personal flying device. The filmmaker shows that at the last moment the inventor realises his new contraption will not fly, but because he is being filmed, he is still compelled to jump, like the unknown woman in Okinawa, to his death. Thus the very act of tracking a film camera on an event is shown to produce actions and, hence, to have the potential to affect and steer the course of history. In Level Five (1996), even more than in his previous films, Marker problematises the relationship between historical events and their mediated representations."
(Chris Marker, Contemporary Film Directors, University of Illinois Press )